This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and (...) other genres. It offers a rich tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform. (shrink)

How do the arts inform and cultivate our service to God? In this addition to an award-winning series, distinguished philosopher Bruce Ellis Benson rethinks what it means to be artistic. Rather than viewing art as practiced by the few, he recovers the ancient Christian idea of presenting ourselves to God as works of art, reenvisioning art as the very core of our being: God calls us to improvise as living works of art. Benson also examines the nature of liturgy (...) and connects art and liturgy in a new way. This book will appeal to philosophy, worship/liturgy, art, music, and theology students as well as readers interested in engaging issues of worship and aesthetics in a postmodern context, including Christian artists and worship leaders. (shrink)

The article aims at discerning and explaining the significance and role of emotive notions in understanding music, in performing it or listening to it with the appropriate understanding. The suggestion focuses on two notions: that of making sense of various musical features and their interconnections, and that of helping manage the enormous information one needs to process in keeping on the trail of the music in real time.

An argument is presented to the effect that the ability to feel or to experience meaning conditions the ability to mean, and is thus essential to our notion of meaning. The experience of meaning is manifested in the "fine shades" of use and behavior. Theses, so obvious in music, constitute understanding music, which makes music understanding so relevant to understanding language. Applying these notions of understanding, feeling, and experience--as well as their explication in terms of comparisons, internal (...) relation, and mastery of technique--to music, where they are so apt and natural, is fertile both for the philosophy of language and the philosophy of music. (edited). (shrink)

This book contains a group of 90 original dramatic essays, short plays, and letters_mostly written in the dialectical or dialogue style attributed to the great Greek philosopher, Socrates . Each essay seeks to take the reader to the uncharted territory of their own mind in order to break the shackles of hypocrisy_to develop individual virtue, character and to encourage morality, discipline, and perseverance in the face of obstacles.

A broad sociocultural perspective defines trauma as the result of an event, a series of events, or a set of circumstances that is experienced as physically or emotionally harmful or life threatening, with lasting impacts on an individual’s physical, social, emotional, or spiritual wellbeing. Contexts and practices that aim to be “trauma-informed” strive to attend to the complex impacts of trauma, integrating knowledge into policies and practices, and providing a sanctuary from harm. However, there is a body of critical and (...) decolonial scholarship that challenges the ways in which “trauma-informed” practice prioritizes individualized interventions, reinscribes colonial power relations through its conceptualizations of safety, and obscures the role of systemic injustices. Within music therapy trauma scholarship, research has thus far pointed to the affordances of music in ameliorating symptoms of trauma, bypassing unavailable cognitive processes, and working from a strengths-based orientation. In critiquing the tendency of the dominant trauma paradigm to assign vulnerability and reinforce the individual’s responsibility to develop resilience through adversity, this conceptual analysis outlines potential alternatives within music therapy. Drawing on a case example from a research project with young people in school, I elucidate the ways in which music therapy can respond to power relations as they occur within and beyond “trauma-informed” spaces. I highlight two overarching potentials for music therapy within a shifting trauma paradigm: (1) as a site in which to reframe perceived risk by fostering young people’s resistance and building their political agency and (2) in challenging the assumption of “safe spaces” and instead moving toward practices of “structuring safety.”. (shrink)

This essay contributes to the ethics of vulnerability and to the tradition of feminist care ethics by introducing the notion of second-person needs. Employing the work of Annette Baier, who argues that we are all ‘second persons’ insofar as personhood arises through a childhood in the care of others, it draws attention to the needs that are illuminated when we approach ourselves and others as second persons, and makes a case for the moral import of second-person needs. In drawing from (...) and critically responding to Lisa Tessman’s concept of ‘burdened virtues,’ it also adds to a growing field of ethical work on moral damage. In particular, this paper reminds readers of the benefits of the virtue of sensitivity and attention to other’s suffering, without ignoring the toll that it can extract. (shrink)

And indeed we think it not manly to perform music, except when drunk or for fun.Composing, performing, and listening are three familiar musical practices, each having various forms and manifestations. Aesthetic value is usually ascribed to objects—whether artistic or natural. But “object” needs to be understood here in a very wide sense, including, for example, a theatrical production or a ballet. In dealing with music, I assume that complete works are the primary bearers of such value, but we (...) need not deny it from the practices of composing and performing, for they are imbued with those properties and aspects that make their products objects of aesthetic value. I shall not deal with the many problems raised by... (shrink)

A musical work is an organized system of notes and of higher musical units such as motives, themes, harmonies, etc. We shall here confine ourselves to notes. A note is not just a physical event (an acoustic disturbance, a passage of wave energy), but a musical entity with functional properties sensitive to context. Roughly, it can be described as an acoustic event under a particular description (“tonic”, “dominant”, “leading tone”, “appoggiatura”, “upper voice of a septachord”, etc.). Are pauses genuine notes (...) in this sense? Surely they are indicated by written signs in the score; but, is that sufficient for regarding them as notes? And are they audible notes? Although this may seem a strange, and, some would say plainly false, idea, we shall see in the sequel that there is much to be said in its favor. (shrink)

Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of a (...) tone in a tone-space and its relations. This is presented as experiential: hearing and identifying tones under concepts and relations that are experienced rather than figured out or derived on the basis of crude identification of bare tones. Since many of these concepts and relations are musically meaningful, this rich notion of identification is thus connected to musical understanding and aesthetic appreciation of a musical work. It may also be claimed to be vital in passing between different sense modalities, and can explain various aspects of AP and puzzles connected with it. (shrink)

In the post-September 11, 2001 world in which we live, French existentialist playwright and philosopher Gabriel Marcel’s works are especially relevant. Hisincreased popularity reflects both student and faculty interest in questions he raises about issues that remain vital concerns in our lives. Plays focusing on questions about life’s meaning, connected with insights from his philosophic essays, illustrate how Marcel engages personal reflection to clarify challenging situations. He uses dramatic imagination to investigate conflicting viewpoints, inviting the viewers to examine their unique (...) experience of the issues portrayed. Thus his individual journey to consciousness welcomes others to develop their own. Today’s classrooms also benefit from a greater availability of Marcel’s translated works in the form of books, scripts, videos, CDs, and Readers’ Theatre performances. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Trains Of Thought And AfterthoughtsJohn EllisWhen I think about how this conference has gone, it’s hard not to begin with the fact that so many came. “We happy few” turned out not to be so few after all.* While I cannot be the most objective judge of a conference that I spent so much time helping to plan, it still seems to me that being able to listen, on (...) two successive evenings, to talks of the quality of Bernard Knox’s and Stanley Crouch’s was a rare treat. Stanley’s talk had the effect that all first-rate criticism must have; it made those who heard it want to rush out and get the book to read or reread it. And I shall long remember Bernard’s anecdote about Aristophanes being subpoenaed, which was just about the funniest and most instructive story I’ve ever heard. Singling out any of the shorter papers is unfair, for I enjoyed all of them, but I have to say that poetry as a genre would not be lagging behind the other genres (fiction and drama) in our age if there were more people who could read poetry like Rosanna Warren.Rather than commenting on how things turned out, I should tell you a little of how we wanted things to turn out, so that you can get your own sense of the relation between our intent and what actually happened. The one stark fact that faced everyone involved in planning this conference was that it was easy to say what we didn’t want to do—we could see examples of that everywhere—but deciding how to chart a new course was an altogether different question. There was one shape [End Page 197] we knew we didn’t want, but there were all kinds of possible shapes we could have chosen to replace it. The program as you heard it was in fact the result of many different trains of thought.Take the panel on poets and critics; it might seem just a nice invention, but was actually the result of a studied train of thought. The most visible sign of what has gone wrong with academic criticism is that it is now largely written for and read by other academic critics. Academic criticism in the process has lost touch with the wider world of readers and writers. Academic critical essays have become a game played on campuses in an increasingly isolated and parochial world where they are heavily involved in matters of professional hierarchy and the place of individuals within it, but in very little else in the real world. The “poets and critics” panel was, in part, an attempt to begin to bring academic criticism back to the reality of readers and writers, to subordinate the unquestionable cleverness and intellectual ingenuity of academics to a common sense and realism that recently seem to have been in somewhat short supply.The panel on how to read a book results from a quite different train of thought. Academic criticism has now assumed a forbidding verbal complexity. A highly elaborate verbal superstructure covers over the essentials of the situation—literature and its readers—to the extent that it becomes a barrier that obscures what is real in it. This panel was in part an attempt to cut through pseudo-complexity and to return to the basic elements of the situation. I might well have said “the basic theory of the situation,” since I’m always reluctant to concede theory to people who have no exclusive claim to it (as they imagine) but merely misuse it.1The notion of “back to basics” really requires no justification. There is a charming story of a man who has played golf all his life, but each year goes back to his first teacher and says to him quite simply: teach me how to play golf. The teacher instructs him as he does anyone else who has never played the game, beginning with how to hold a club, how to stand, and so on. This might seem a rather obsessive habit—unless you know who this man is. One has to assume that this... (shrink)

Based on a conception that a musical composition is constituted by normative properties, it is argued that every such composition has one ideal performance—a performance that fulfils all the aesthetic-normative properties that the composition determines. A performance is conceived of (and evaluated) as inherently and essentially ‘intentionalistic’—being, by its very nature, a performance of a certain composition. This conception allows for various different performances, none of which is preferable over the others. The properties concerned are conceived of broadly as comprising (...) not only the tones themselves and various ‘theoretical’ features such as thematic relations, harmonic progressions, rhythmical structures, but also descriptive, emotive, and ‘rhetorical’ properties, which are ‘objective’ properties of the composition. It is further claimed that these are indicated in the score when properly understood in the light, inter alia, of pertinent conventions, which are the business of theoreticians and musicologists to determine. The main significance of the result lies both in highlighting some important implications of the intentionalistic character of a performance, and in the style of conceptual connection it indicates between a musical composition, its aesthetic-normative properties, and features of performance or ways of fulfilling them. (shrink)

An unpublished satirical work, writtenc.1848–1854, provides fresh insight into the most famous scientific voyage of the nineteenth century. John Clunies Ross, settler of Cocos-Keeling – which HMSBeaglevisited in April 1836 – felt that Robert FitzRoy and Charles Darwin had ‘depreciated’ the atoll on which he and his family had settled a decade earlier. Producing a mock ‘supplement’ to a new edition of FitzRoy'sNarrative, Ross criticized their science and their casual appropriation of local knowledge. Ross's virtually unknown work is intriguing not (...) only for its glimpse of theBeaglevoyage, but also as a self-portrait of an imperial scientific reader. An experienced merchant seaman and trader–entrepreneur with decades of experience in the region, Ross had a very different perspective from that of FitzRoy or Darwin. Yet he shared many of their assumptions about the importance of natural knowledge, embracing it as part of his own imperial projects. Showing the global reach of print culture, he used editing and revision as satirical weapons, insisting on his right to participate as both reader and author in scientific debate. (shrink)

What is the nature of dialectic according to Hegel? And what is achieved by its means? These are the main questions that John McTaggart seeks to answer in this work, first published in 1896. At the beginning of the twentieth century, the Cambridge-educated philosopher and fellow of Trinity College enjoyed a prominent position within the circle of idealist philosophers, and was regarded as one of England's leading Hegel scholars. Although a proponent of the German philosopher's dialectical thinking in general, McTaggart (...) was not uncritical of Hegel's philosophy and objected to his application of abstract thought. In this work, McTaggart not only gives the reader a thorough introduction to Hegel's understanding of the dialectic method but also exposes a number of points on which he considers Hegel's teaching to be inaccurate: one of these is Hegel's insistence that evil is merely a delusion. (shrink)

In this edition the text of The Examiner is presented as Swift wrote it, not as it was revised for publication by George Faulkner in 1738. And for the first time Swift's Examiners are juxtaposed with the Medleys of Arthur Mainwaring that replied to them every week. They bring the reader close to the actualités of London between November 1710 and June 1711. From the literary point of view The Examiner is important because it contains some of Swift's best (...) work. Even under the pressure of weekly publication he was still able to achieve, in Herbert Davis's words, 'an aloofness as if beyond bias and passion'. (shrink)

What is philosophy, why does it matter, and how would it be different if women wrote more of it? At a time when the importance of philosophy, and the humanities in general, is being questioned and at a time when the question of gender equality is a huge public question, 22 women in philosophy lay out in this book how they think of philosophy, what they actually do, and how that is applied to actual problems. By bringing together accounts of (...) the personal experiences of women in philosophy, this book provides a new understanding of the ways in which the place of women in philosophy has changed in recent decades while also introducing the reader to the nature and the value of philosophy. -/- . (shrink)

The paper investigates the acquisition of the semantics/pragmatics of two Modern Greek evidential markers taha (¿supposedly¿) and dithen (¿as if¿, ¿so-called¿) and possible correlations with children¿s mind-reading abilities. Between (a) an evidential¿ironical interpretation and (b) a pretence interpretation, earliest uses of these particles (in spontaneous children¿s speech) suggest that pretence-interpretations, rather than evidential ones, are the first to develop (Ifantidou, to appear). This production finding is mapped onto input occurrences of taha and dithen in (i) children¿s readers, (ii) adults¿ prose, (...) and (iii) adults¿ speech. High prevalence of pretence interpretations is observed in (i), with high prevalence of evidential interpretations in (ii) and (iii). These findings are cross-checked by linguistic tasks run with nursery (4¿5 years old) and 6¿12 year-old children. The results also point to an early acquisition of the pretence-interpretation and a later acquisition of the particles¿ evidential uses. Finally, non-linguistic experiments are run with the nursery (4¿5 year-old) children to assess their evidential cognitive abilities. Two questions arise: (1) If children lack the semantics/pragmatics of evidential taha and dithen, do they also lack the relevant mind-reading abilities? (2) If children exhibit an earlier working capacity of pretence-interpretations, is there an explanation for why this is so? In addressing these issues, I will explore the possibility that availability of evidential lexical items in language presupposes availability of relevant concepts, and suggest, in turn, a degree of developmental interdependence between cognition and language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 7-19 [Access article in PDF] Evaluating a Performance - Ideal vs. Great Performance Gilead Bar-Elli Two Notions of Performance Music, as everybody knows, is a performing art. Not only are musical works performed, but they are also designed, by their very nature, to be performed. The notion of a performance of a musical composition is therefore part and parcel of our (...) conception of music. And yet the relationships between a composition and its performances give rise to many difficult problems, some of which will be touched on later. For the present I want to stress two more specific issues in which the significance of the notion of performance for music lies. The first is that a musical composition is constituted by concepts and properties intrinsically connected to performance. In fact, I believe that the very meaning of these concepts and properties is rooted in the ways they are manifested in performance. Hence, even if a certain composition has never and will never be performed, it is still constituted by concepts and properties whose meaning lies in the ways they should be manifested in performance.The second point is that since music is in fact a performing art, since weperform music, and listen to various performances of the same compositions, and conceive of them and evaluate them as music, notions of performance are an integral part of the conceptual repertoire in which we conceive of music. Hence questions pertaining to the nature of performance, and to the relationship between a composition and its performances are inescapable in any philosophical investigation of music. And around these general questions a host of others suggest themselves: What makes a particular performance (even if faulty) a performance of a particular work? Can there be different equally good performances of the same work? In what terms should performances be evaluated (and graded) and how? Can a composition be individuated apart from its performances and how?On many of these problems and the issues surrounding them, a distinction between two conceptions of performance seems helpful, and sometimes [End Page 7] necessary. On the one hand we may conceive of a performance as a musical entity in itself, independently of the composition whose performance it in fact is. A performance thus conceived can be aesthetically evaluated "on its own" so to speak, or in and of itself, with no regard to our having an independent access to the composition whose performance it is. Sometimes, to push it to an extreme, we may not even know that it is a performance of a particular composition, and may not care if it is. Let us call this the"autonomousconception of a performance."On the other hand we often think of a performance as being essentially a performance of a particular composition, and we thus conceive of it and evaluate it. Here knowing which composition the performance is a performance of is essential. It is arguable that on this conception we must also have (in principle at least) an independent access to the composition, by being able to read its score, for example.1 Being a performance of a particular composition is, on this view, part of the very nature and identity of the performance. There can yet be various different performances of the same composition, and they may be compared and evaluated as such. In light of this essential relationship between the performance and "its" composition (the work whose performance it is) let us call this the "intentionalisticconception of a performance."There is a great difference between these two conceptions, and they imply important differences for the nature of music and of musical composition. I am not committing myself here to any particular view of the ontic nature of a composition — whether it is a class of performances, or a kind (in Nicholas Wolterstorff's sense) or a design (in Roger Scruton's).2 I shall exemplify the pertinence of the above distinction for one case. Many people think that music resides only in performances (some would add, actual and possible... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 7-19 [Access article in PDF] Evaluating a Performance - Ideal vs. Great Performance Gilead Bar-Elli Two Notions of Performance Music, as everybody knows, is a performing art. Not only are musical works performed, but they are also designed, by their very nature, to be performed. The notion of a performance of a musical composition is therefore part and parcel of our (...) conception of music. And yet the relationships between a composition and its performances give rise to many difficult problems, some of which will be touched on later. For the present I want to stress two more specific issues in which the significance of the notion of performance for music lies. The first is that a musical composition is constituted by concepts and properties intrinsically connected to performance. In fact, I believe that the very meaning of these concepts and properties is rooted in the ways they are manifested in performance. Hence, even if a certain composition has never and will never be performed, it is still constituted by concepts and properties whose meaning lies in the ways they should be manifested in performance.The second point is that since music is in fact a performing art, since weperform music, and listen to various performances of the same compositions, and conceive of them and evaluate them as music, notions of performance are an integral part of the conceptual repertoire in which we conceive of music. Hence questions pertaining to the nature of performance, and to the relationship between a composition and its performances are inescapable in any philosophical investigation of music. And around these general questions a host of others suggest themselves: What makes a particular performance (even if faulty) a performance of a particular work? Can there be different equally good performances of the same work? In what terms should performances be evaluated (and graded) and how? Can a composition be individuated apart from its performances and how?On many of these problems and the issues surrounding them, a distinction between two conceptions of performance seems helpful, and sometimes [End Page 7] necessary. On the one hand we may conceive of a performance as a musical entity in itself, independently of the composition whose performance it in fact is. A performance thus conceived can be aesthetically evaluated "on its own" so to speak, or in and of itself, with no regard to our having an independent access to the composition whose performance it is. Sometimes, to push it to an extreme, we may not even know that it is a performance of a particular composition, and may not care if it is. Let us call this the"autonomousconception of a performance."On the other hand we often think of a performance as being essentially a performance of a particular composition, and we thus conceive of it and evaluate it. Here knowing which composition the performance is a performance of is essential. It is arguable that on this conception we must also have (in principle at least) an independent access to the composition, by being able to read its score, for example.1 Being a performance of a particular composition is, on this view, part of the very nature and identity of the performance. There can yet be various different performances of the same composition, and they may be compared and evaluated as such. In light of this essential relationship between the performance and "its" composition (the work whose performance it is) let us call this the "intentionalisticconception of a performance."There is a great difference between these two conceptions, and they imply important differences for the nature of music and of musical composition. I am not committing myself here to any particular view of the ontic nature of a composition — whether it is a class of performances, or a kind (in Nicholas Wolterstorff's sense) or a design (in Roger Scruton's).2 I shall exemplify the pertinence of the above distinction for one case. Many people think that music resides only in performances (some would add, actual and possible... (shrink)

Bruce Ellis Benson puts forward the surprising idea that Nietzsche was never a godless nihilist, but was instead deeply religious. But how does Nietzsche affirm life and faith in the midst of decadence and decay? Benson looks carefully at Nietzsche's life history and views of three decadents, Socrates, Wagner, and Paul, to come to grips with his pietistic turn. Key to this understanding is Benson's interpretation of the powerful effect that Nietzsche thinks music has on the human spirit. (...) Benson claims that Nietzsche's improvisations at the piano were emblematic of the Dionysian or frenzied, ecstatic state he sought, but was ultimately unable to achieve, before he descended into madness. For its insights into questions of faith, decadence, and transcendence, this book is an important contribution to Nietzsche studies, philosophy, and religion. (shrink)

Rather than being concerned with questions of aesthetic standards, Ingarden focuses on the question of where a musical work exists. Thus he attempts to draw clear distinctions between musical works, scores, and performances. Yet, while these distinctions seem questionable even from the standpoint of classical music, in jazz, which operates under a paradigm in which improvisation is primary, they prove far more problematic. A crucial assumption behind Ingarden's view of music is that musical performance is essentially a kind (...) of faithful reproduction. But the question is: why does Ingarden assume this musical model? The only way to answer this question is by examining some of the basic presuppositions by which classical music functions and which Ingarden simply takes over. Although Ingarden's investigation of the musical work is usually seen as a phenomenology of music in general, precisely because Ingarden restricts his analysis to works of classical music, his conception of music turns out to be a highly limited one. In the end, the issue of aesthetic value — which Ingarden claims should come after a phenomenology of music — turns out to be what his investigation of music assumes. (shrink)

The reason why Gadamer’s Truth and Method opens with a discussion of ‘humanistic’ concepts—Bildung, judgment, sensus communis, tact, and taste—is that these ‘ways of knowing’ are basic to human knowledge and understanding. In this paper, I consider the role that religion (defined in a broad sense) played in helping human beings develop a common sense of understanding. Specifically, I examine some instances of religion in the form of song and dance—forms of religion that appear to date back to many thousands (...) of years ago. What emerges is that singing and dancing together provides an excellent basis for and ways to continue engaging in community. I conclude the paper by considering Gadamer’s notion of festival. Although Gadamer makes no reference in his discussion of festival to ancient forms of religion, such religious practice can be seen as something very similar (if not identical) to the celebration of a festival. (shrink)

What does it mean to understand the world religiously? How is such understanding to be distinguished from scientific understanding? What does it have to do with religious practice, transfiguring love, and spiritual well-being? New Models of Religious Understanding investigates these questions to set a new and exciting agenda for philosophy of religion. Featuring contributions from leading scholars in the field, the volume cuts across the supposed divide between analytic and continental approaches to the subject and engages the interest of a (...) broad range of philosophical and theological readers. (shrink)

This collection of ground-breaking essays considers the many dimensions of prayer: how prayer relates us to the divine; prayer's ability to reveal what is essential about our humanity; the power of prayer to transform human desire and action; and the relation of prayer to cognition. It takes up the meaning of prayer from within a uniquely phenomenological point of view, demonstrating that the phenomenology of prayer is as much about the character and boundaries of phenomenological analysis as it is about (...) the heart of religious life.The contributors: Michael F. Andrews, Bruce Ellis Benson, Mark Cauchi, Benjamin Crowe, Mark Gedney, Philip Goodchild, Christina M. Gschwandtner, Lissa McCullough, Cleo McNelly Kearns, Edward F. Mooney, B. Keith Putt, Jill Robbins, Brian Treanor, Merold Westphal, Norman Wirzba, Terence Wright and Terence and James R. Mensch. Bruce Ellis Benson is Associate Professor of Philosophy at Wheaton College. He is the author of Graven Ideologies: Nietzsche, Derrida, and Marion on Modern Idolatry and The Improvisation of Musical Dialogue: A Phenomenology of Music. Norman Wirzba is Associate Professor and Chair of the Philosophy Department at Georgetown College, Kentucky. He is the author of The Paradise of God and editor of The Essential Agrarian Reader. (shrink)

"In the same period Wagner was deeply inspired by the works of Shakespeare, an influence that runs throughout this volume. The title essay, "Actors and Singers," is one of Wagner's most deliberate and philosophical writings. He wrote, "Art ceases, strictly speaking, to be Art from the moment it presents itself as Art to our reflecting consciousness. " He described how the unconsciousness of art, and thus art's power, connected natural genius to cultivate traditions.

We propose Rhythmic Relating for autism: a system of supports for friends, therapists, parents, and educators; a system which aims to augment bidirectional communication and complement existing therapeutic approaches. We begin by summarizing the developmental significance of social timing and the social-motor-synchrony challenges observed in early autism. Meta-analyses conclude the early primacy of such challenges, yet cite the lack of focused therapies. We identify core relational parameters in support of social-motor-synchrony and systematize these using the communicative musicality constructs: pulse; quality; (...) and narrative. Rhythmic Relating aims to augment the clarity, contiguity, and pulse-beat of spontaneous behavior by recruiting rhythmic supports and relatable vitality; facilitating the predictive flow and just-ahead-in-time planning needed for good-enough social timing. From here, we describe possibilities for playful therapeutic interaction, small-step co-regulation, and layered sensorimotor integration. Lastly, we include several clinical case examples demonstrating the use of Rhythmic Relating within four different therapeutic approaches. These clinical case examples are introduced here and several more are included in the Supplementary Material. A suite of pilot intervention studies is proposed to assess the efficacy of combining Rhythmic Relating with different therapeutic approaches in playful work with individuals with autism. Further experimental hypotheses are outlined, designed to clarify the significance of certain key features of the Rhythmic Relating approach. (shrink)

Written by philosophers, cosmologists, and physicists, this collection of essays deals with causality, which is a core issue for both science and philosophy. Readers will learn about different types of causality in complex systems and about new perspectives on this issue based on physical and cosmological considerations. In addition, the book includes essays pertaining to the problem of causality in ancient Greek philosophy, and to the problem of God's relation to the causal structures of nature viewed in the light of (...) contemporary physics and cosmology. [Subject: Philosophy, Cosmology, Physics, Religious Studies]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Third Concept of Liberty. Judgment and Freedom in Kant and Adam SmithElisabeth EllisSamuel Fleischacker. A Third Concept of Liberty. Judgment and Freedom in Kant and Adam Smith. Princeton: Princeton University Press, 1999. Cloth, $70.00. Pp. 338.Samuel Fleischacker's lively and ambitious new book on judgment makes significant contributions to the literature interpreting Kant and Smith. He constructs a powerful [End Page 447] theory of free human judgment from (...) Kant's third Critique and Smith's Wealth of Nations, using this theory to revise Isaiah Berlin's classic distinction between negative and positive freedom. By arguing for what he calls "a third concept of liberty," Fleischacker hopes "to make the world free for good judgment" (243).Fleischacker begins his book with three chapters on "the nature of judgment," which include a controversial but ultimately convincing reading of Kant's writing on aesthetic judgment. Having outlined a Kantian theory of judgment, Fleischacker moves in the next six chapters to "the politics of judgment," reading Smith's Wealth of Nations in light of Aristotle's philosophy of phronesis (and also, rightly, in the context of Smith's own Theory of Moral Sentiments). This second section concludes with two extremely interesting chapters on politics and judgment in Kant and Rawls, in which Fleischacker weaves a number of controversial hypotheses, for example, that Kant's Groundwork was fundamentally influenced by Adam Smith (229n.), or that Kant included gender-based inequality among the types of tutelage to be overcome (186n.), into a strong critique of contemporary political philosophy. To both the utilitarian and the deontological traditions in political thought, Fleischacker opposes a "third way," in which the basis of political legitimacy is rooted in neither desire nor reason, but in the capacity for judgment. Fleischacker concludes his book with a single chapter on "the freedom of judgment," in which he argues for this philosophy against a series of representatives of alternative views.Interpreting Kant's political philosophy, Fleischacker directs our attention away from the familiar calculus of universal rules and toward what this reader agrees is the more authentically Kantian politics of gradual progress toward freedom. From this interpretation, he derives a very interesting critique of Kant's most prominent present-day successors:Rawls and Habermas try to uncover a framework for just politics from the structure of reason itself, and their projects fail, deeply and irremediably, because that structure cannot tell us anything, by itself, about its own proper application to concrete matters of public policy. Kant's own political writings are more closely engaged with specific, contingent issues of his day. Surprisingly, perhaps, Kant has considerably greater respect for history, and for empirical fact, than do his modern-day followers.(184)Fleischacker is not the only scholar interested in directing our attention toward Kant's pragmatic politics. See, for example, John Christian Laursen, The Politics of Skepticism in the Ancients, Montaigne, Hume, and Kant (Leiden and New York: E. J. Brill, 1992). Fleischacker goes on to emphasize that for Kant political freedom is something to be achieved over time via such institutions as civic education and a free press. As such, political freedom is not identical with freedom of the will, and thus for Fleischacker, Kant's political arguments do not depend on defending transcendental freedom. Instead, Fleischacker argues, a truly Kantian politics will address the conditions for the free exercise of individual judgment. "Freedom.... can be developed empirically... " (186). Though generally convincing, Fleischacker's reading of Kant's politics is vulnerable to criticism on some points of interpretation. For example, by overlooking Kant's [End Page 448] account of provisional right in the Rechtslehre, Fleischacker misses one of the most important of Kant's attempts to translate judgment's mediating function into political practice.If A Third Concept of Liberty elides some interpretive issues (such as the relationship between aesthetic and moral decision-making (23n.), the book confronts the most important questions of present-day political theory head on. Fleischacker makes a number of far-reaching but also quite specific proposals for moving the world closer to a realm of free human judgment. Against negative libertarians such as Milton Friedman, Fleischacker calls for governmental activism to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Third Concept of Liberty. Judgment and Freedom in Kant and Adam SmithElisabeth EllisSamuel Fleischacker. A Third Concept of Liberty. Judgment and Freedom in Kant and Adam Smith. Princeton: Princeton University Press, 1999. Cloth, $70.00. Pp. 338.Samuel Fleischacker's lively and ambitious new book on judgment makes significant contributions to the literature interpreting Kant and Smith. He constructs a powerful [End Page 447] theory of free human judgment from (...) Kant's third Critique and Smith's Wealth of Nations, using this theory to revise Isaiah Berlin's classic distinction between negative and positive freedom. By arguing for what he calls "a third concept of liberty," Fleischacker hopes "to make the world free for good judgment" (243).Fleischacker begins his book with three chapters on "the nature of judgment," which include a controversial but ultimately convincing reading of Kant's writing on aesthetic judgment. Having outlined a Kantian theory of judgment, Fleischacker moves in the next six chapters to "the politics of judgment," reading Smith's Wealth of Nations in light of Aristotle's philosophy of phronesis (and also, rightly, in the context of Smith's own Theory of Moral Sentiments). This second section concludes with two extremely interesting chapters on politics and judgment in Kant and Rawls, in which Fleischacker weaves a number of controversial hypotheses, for example, that Kant's Groundwork was fundamentally influenced by Adam Smith (229n.), or that Kant included gender-based inequality among the types of tutelage to be overcome (186n.), into a strong critique of contemporary political philosophy. To both the utilitarian and the deontological traditions in political thought, Fleischacker opposes a "third way," in which the basis of political legitimacy is rooted in neither desire nor reason, but in the capacity for judgment. Fleischacker concludes his book with a single chapter on "the freedom of judgment," in which he argues for this philosophy against a series of representatives of alternative views.Interpreting Kant's political philosophy, Fleischacker directs our attention away from the familiar calculus of universal rules and toward what this reader agrees is the more authentically Kantian politics of gradual progress toward freedom. From this interpretation, he derives a very interesting critique of Kant's most prominent present-day successors:Rawls and Habermas try to uncover a framework for just politics from the structure of reason itself, and their projects fail, deeply and irremediably, because that structure cannot tell us anything, by itself, about its own proper application to concrete matters of public policy. Kant's own political writings are more closely engaged with specific, contingent issues of his day. Surprisingly, perhaps, Kant has considerably greater respect for history, and for empirical fact, than do his modern-day followers.(184)Fleischacker is not the only scholar interested in directing our attention toward Kant's pragmatic politics. See, for example, John Christian Laursen, The Politics of Skepticism in the Ancients, Montaigne, Hume, and Kant (Leiden and New York: E. J. Brill, 1992). Fleischacker goes on to emphasize that for Kant political freedom is something to be achieved over time via such institutions as civic education and a free press. As such, political freedom is not identical with freedom of the will, and thus for Fleischacker, Kant's political arguments do not depend on defending transcendental freedom. Instead, Fleischacker argues, a truly Kantian politics will address the conditions for the free exercise of individual judgment. "Freedom.... can be developed empirically... " (186). Though generally convincing, Fleischacker's reading of Kant's politics is vulnerable to criticism on some points of interpretation. For example, by overlooking Kant's [End Page 448] account of provisional right in the Rechtslehre, Fleischacker misses one of the most important of Kant's attempts to translate judgment's mediating function into political practice.If A Third Concept of Liberty elides some interpretive issues (such as the relationship between aesthetic and moral decision-making (23n.), the book confronts the most important questions of present-day political theory head on. Fleischacker makes a number of far-reaching but also quite specific proposals for moving the world closer to a realm of free human judgment. Against negative libertarians such as Milton Friedman, Fleischacker calls for governmental activism to... (shrink)

In this multi-faceted volume, Christian and other religiously committed theorists find themselves at an uneasy point in history—between premodernity, modernity, and postmodernity—where disciplines and methods, cultural and linguistic traditions, and religious commitments tangle and cross. Here, leading theorists explore the state of the art of the contemporary hermeneutical terrain. As they address the work of Gadamer, Ricoeur, and Derrida, the essays collected in this wide-ranging work engage key themes in philosophical hermeneutics, hermeneutics and religion, hermeneutics and the other arts, hermeneutics (...) and literature, and hermeneutics and ethics. Readers will find lively exchanges and reflections that meet the intellectual and philosophical challenges posed by hermeneutics at the crossroads. Contributors are Bruce Ellis Benson, Christina Bieber Lake, John D. Caputo, Eduardo J. Echeverria, Benne Faber, Norman Lillegard, Roger Lundin, Brian McCrea, James K. A. Smith, Michael VanderWeele, Kevin Vanhoozer, and Nicholas Wolterstorff. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

"The enterprise initiative is probably the most significant political and cultural influence to have affected Western and Eastern Europe in the last decade. In this book, academics from a range of disciplines debate Mary Douglas's distinctive Grid Group cultural theory and examine how it allows us to analyse the complex relation between the culture of enterprise and its institutions. Mary Douglas, Britain's leading cultural anthropologist, contributes several chapters."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved.

Musical genius, polemicist, explosive personality-that was the nineteenth-century German composer Richard Wagner, who paid as much attention to his reputation as to his genius. Often maddening, and sometimes called mad, Wagner wrote with the same intensity that characterized his music. The letters and essays collected in Judaism in Music and Other Essays were published during the 1850s and 1860s, the period when he was chiefly occupied with the creation of The Ring of the Nibelung. Highlighting this collection is (...) the notorious 1850 article "Judaism in Music, " which caused such a firestorm that nearly twenty years later Wagner published an unapologetic appendix. Other prose pieces include "On the Performing of Tannhauser, " written while he was in political exile; "On Musical Criticism, " an appeal for a more vital approach to art undivorced from life; and "Music of the Future." This volume concludes with letters to friends about the intent and performance of his great operas; estimations of Liszt, Beethoven, Mozart, Gluck, Berlioz, and others; and suggestions for the reform of opera houses in Vienna, Paris, and Zurich. The Bison Book edition includes the full text of volume 3 of William Ashton Ellis's 1894 translation commissioned by the London Wagner Society. (shrink)

Katharine Tait, daughter of Bertrand and Dora Russell, here vividly portrays the extraordinary and stimulating environment she grew up in. In refreshing contrast to the interpretation of Russell as philosopher and public figure, Tait's is a close personal account of her deep love and admiration for her father and its gradual tempering by the imperfections she came to see in him. Touchingly written and beautifully described, the book shows Russell to be a man of great warmth, charm and humour, (...) but is also a testament to the traumas created when he applied his views on marriage and education to his own home. My Father Bertrand Russell is essential reading for those seeking to understand the private background to Russell's ideas, the personal effects of his lifestyle prescriptions, and what it was like to live with a man of such genious. (shrink)

Artificial intelligence and robotics have increasingly been adopted in agri-food systems—from milking robots to self-driving tractors. New projects extend these technologies in an effort to automate skilled work that has previously been considered dependent on human expertise due to its complexity. In this paper, we draw on qualitative research carried out with farm managers on apple orchards and winegrape vineyards in Aotearoa New Zealand. We investigate how agricultural managers’ perceptions of future agricultural automation relates to their approach to expertise, or (...) the degree to which they think specialised skills and knowledge are required to perform agricultural work on their orchards and vineyards. Our research generates two insights: the perceived potential for work to be automated is related to the degree to which it is seen to require technical or embodied expertise, with technical expertise being more automatable; and, while embodied expertise is perceived to be more difficult to automate, it is sometimes attributed more exclusively to those in positions of power, such that embodied expertise can be highly valued while the majority of embodied work is viewed as non-expert and thus automatable. Our analysis illustrates that a robot can be an expert when expertise is technical. It also shows variability in the conceptualization of skilled or unskilled work, and that those conceptualizations can set the stage for the future effects of new technologies. This generates new insights into the conditions under which automation might reproduce existing inequalities in agriculture, and also raises new questions about responsibility in the context of automation. (shrink)

In this article, I identify a distinctive form of injustice—ontic injustice—in which an individual is wronged by the very fact of being socially constructed as a member of a certain social kind. To be a member of a certain social kind is, at least in part, to be subject to certain social constraints and enablements, and these constraints and enablements can be wrongful to the individual who is subjected to them, in the sense that they inflict a moral injury. The (...) concept of ontic injustice is valuable in three main ways: it draws our attention to the role played by social kinds in enacting wrongful constraints and enablements; it clarifies our options for developing accounts of the ontology of particular social kinds, such as gender kinds; and, along with the related concept of ‘ontic oppression’, it helps us to understand and respond to oppression. (shrink)

The way society is organised means that we all get made into members of various types of people, such as judges, wives, or women. These ‘human social kinds’ may be brought into being by oppressive social arrangements, and people may suffer oppression in virtue of being made into a member of a certain human social kind. This book argues that we should pay attention to the ways in which the very fact of being made into a member of a certain (...) human social kind can be oppressive in and of itself. For example, someone who becomes a wife under circumstances where husbands have unjust powers over their wives has suffered a wrong, even if her husband never in fact exercises these powers. The book argues that social movements against racial and gendered oppression, including efforts to advance trans liberation, must get to grips with this phenomenon, and it supplies the conceptual tools needed to do so. The first tool is an analysis of this general form of wrong, termed ‘ontic injustice’. The second tool is an account of ‘ontic oppression’, a particular kind of ontic injustice in which the wrong amounts to a form of oppression, in the sense of being structural and pervasive. The third tool is a pluralist account of race and gender kinds, according to which there is no single social kind that corresponds to a gender category such as ‘woman’, but, rather, there are various different social kinds, each of which is explanatory for different purposes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and (...) revolutionary like the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)